Interview: Amanda Marshall
7 min read
It’s been more than 20 years since Canadian singer-songwriter Amanda Marshall last released new music, but if anything, her voice and connection with fans have only grown stronger. After bursting onto the scene in the ’90s with her self-titled debut and unforgettable hits like Birmingham, Let It Rain, and Dark Horse, Marshall’s career was put on hold by a lengthy legal battle. Looking back now, though, she sees that time away from the industry not as something she lost, but as an experience that made her a stronger, wiser, and more self-assured artist.
Now, with the deluxe edition of her comeback album Heavy Lifting, Marshall is back doing things entirely on her own terms.
Ahead of her intimate An Evening With show at London’s The Lower Third on Thursday 23rd July, Marshall reflects on finally returning to the studio and why making music without expectations was so freeing. Marshall proves that even after a long break, a true musician never really stops making music….
Brendon Veevers: How are you Amanda and where in the world does this interview find you?
Amanda Marshall: Toronto, Canada. Getting ready to leave for London as we speak!
BV: Your deluxe edition of Heavy Lifting arrives on 17 July. It’s a fitting title given that it’s your first album in over 20 years following the challenges you faced after Everybody’s Got A Story. Can you tell us about your journey back to making music and how Heavy Lifting came together?
AM: I was absent from the music business for 20-odd years as the result of an ongoing legal dispute with my old manager – it’s not an original story, but it definitely dragged on for longer than usual. I was still making music during that time, but I wasn’t sure if anyone would ever hear it. Honestly, that was ok with me. But my agent and various music-industry buddies were like, “You’re too young to retire, too good to quit”, etc. So I started putting HL together in earnest, and eventually the business stuff resolved itself in my favour. Then COVID hit, so we waited a bit longer. But it was worth it.
BV: A lot has changed in 20 years and fans often grow impatient after a couple of years with no new music from their favourite artists. Were there nerves going back into this in terms of wondering whether people had stuck around for more?
AM: None, although I am keenly aware that you can only pull the “I’m back!” trigger once, so you’d better have the goods.
BV: Did that anticipation add any pressure when making Heavy Lifting, or did it give you a sense of freedom?
AM: Total freedom. Nobody was waiting for this; I had no expectations whatsoever. I can’t recommend that feeling highly enough.
BV: How are you feeling about the reception of the record and the response to your return?
AM: Absolutely shocked and delighted. It’s been like slipping back into a warm bath. The old songs are entrenched in peoples’ lives; they’ve been to weddings, births, graduations, etc. I had no idea how meaningful the material was to people. It’s incredibly moving. And HL has opened up a whole new chapter.
BV: How has the last 20+ years away from being able to be that creative person we all know you to be, shaped you as an artist and as a person?
AM: My unplanned absence was the absolute best thing that ever happened to me, period. It gave me the opportunity to become the person that I was always supposed to be, personally and creatively. It made me smarter, gave me coping skills I didn’t have, made me a better singer and writer. It was a gift.
BV: Was there ever any doubt over whether or not music was something you wanted to return to?
AM: Put it this way: My time away from the music business confirmed for me in no uncertain terms that I am not a dilettante. I’m a musician. I make music. The End.
BV: Were there any particular songs on Heavy Lifting that were especially meaningful or challenging to write and record?
AM: “Built This House” was the first song I wrote for the album, and the first thing that made me sit up straight and pay attention. “I’m Not Drunk” made me realize that I can write funny. “Honest” is a success because it’s a beautiful ballad, but it’s also one of those songs that you can fall asleep to with headphones on, which is what I was going for.
BV: Your self-titled debut album remains one of the most beloved Canadian albums of the 1990s and a personal favourite of mine. Looking back, what do you think made those songs connect so strongly with listeners?
AM: I mean, they’re solid, well-written material. I’m a dynamic performer, and that helps a lot. A great chorus can die on the page, but if it’s delivered with heart, that unquestionably helps an audience connect.
BV: Tracks like “Let It Rain”, “Birmingham,” “Dark Horse,” and “Fall From Grace” have stood the test of time. Do you have a different relationship with those songs today than when you first recorded them?
AM: 100%. Experience changes your delivery. One is less experienced, more naive, relying more heavily on imagination. One is warmer, confident, comfortable in your own skin. I love both of ’em.
BV: The music industry has changed dramatically since your debut album was released. What differences stand out most to you between launching a career in the 1990s and releasing music today?
AM: How much time have you got, lol. Social media. Making records in your bedroom. Recording artists are generally more self-sufficient and responsible for their own marketing. The system is obviously deeply flawed, but I don’t hate current music or social media.
BV: Looking back over your career, what do you consider your finest recording?
AM: I swear I’m not trying to be cute with this answer: I don’t think I’ve done it yet. Anytime I listen to myself sing, I’m like, “Huh, ok, that wasn’t terrible, maybe we’re getting somewhere…”
BV: You’ve built a loyal fan base across Canada and beyond. Even as far as here in the UK and you have a huge fan base back in New Zealand where I’m from. What has it meant to reconnect with audiences through recent tours and live performances since your return?
AM: It’s incredible. I can’t overstate how shocked I’ve been at the reception. I don’t take it too personally – I’m just kind of a vessel for songs that mean a lot to people – but I didn’t really understand the effect the first time around, because I was so busy and insulated. It’s fantastic.
BV: You’re back in London this month with a show at The Lower Third in central London on the 23rd July. What excites you most about performing for British audiences?
AM: I love the UK. My mom is originally from Trinidad. London was the first place she lived outside of Trinidad back in the swingin’ sixties, and I still have family there. I grew up hearing all these stories about it, so to have music as the vehicle that got me there is amazing. I love British audiences. As one example: We opened for Whitney Houston at Manchester Arena years ago. Whitney got delayed, so we had to stretch our set. I thought, “These people are gonna kill me, they want Whitney”. Instead, they were one of the most appreciative audiences I’ve ever encountered.
BV: Can UK fans expect a setlist that balances the classic hits with material from Heavy Lifting because this is billed as An Evening With and I know you are doing a Canadian Tour for the 30th Anniversary of your debut.
AM: I am not here to jam new songs down anyone’s throat – that’s what the album is for, lol. This is an opportunity for people to hear a couple of new songs, but they’re definitely gonna hear the songs they know.
BV: After the release of Heavy Lifting and your upcoming UK shows, what’s next for Amanda Marshall? Are there projects, recordings, or celebrations that UK fans can get excited for?
AM: We are starting “Amanda Marshall: The Dirty Thirty Tour” in the fall to commemorate the 30th anniversary of my debut album. Tour starts in Canada, but we’ll be adding dates throughout the year, likely back in Europe this spring, we’ll announce in the next few months. Now that I’ve come back, I need a nap!
Amanda Marshal plays The Lower Third (26 Denmark St, London WC2H 8NJ) on Thursday 23rd July. Tickets are selling fast. You can grab them HERE.
::: RenownedForSound.com’s Editor and Founder –
Interviewing and reviewing the best in new music and globally recognized artists is his passion.
Over the years he has been lucky enough to review thousands of music releases and concerts and interview artists ranging from top selling superstars like 27-time Grammy Award winner Alison Krauss, Boyz II Men, Roxette, Cyndi Lauper, Lisa Loeb and iconic Eagles front man/songwriter, Glenn Frey through to more recent successes including Newton Faulkner, Janelle Monae and Caro Emerald.
Brendon manages and coordinates the amazing team of writers on RenownedForSound.com who are based in the UK, the U.S and Australia.
